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Oscar Views – Part One
It’s a wonderful night for Oscar! Or at least it should be on February 28th. As the 88th Annual Academy Awards approach, it’s time for me to look over the various categories and offer Vincent’s View on the nominees and likely winners.
I decline to arrogantly presume that I know best and say what the Academy got wrong. I don’t necessarily agree with the nominees and, were I a member of the Academy of Motion Picture Arts and Sciences, I would have voted differently. I had my own favourites last year but that’s simply my view – the assembled results of nearly 7000 people do not pale in comparison to my almighty judgement, or indeed anyone’s. What interests me is what the particular nominees say about tastes and trends about Oscar nominees, now and historically.
Beginning with the nominees for Best Picture, they are a rather surprising bunch. I have written before on the kind of film that tends to win Best Picture and the commonalities among nominees. The cliché is that biopics win Oscars, but more broadly historical films win Oscars. Historical films attract awards, presumably because the AMPAS members (not to mention other institutions) respond to the apparent gravitas of “history.” Furthermore, films “based on a true story” do well, as few things offer more “importance” than “truth.”
With that in mind, consider the eight nominees for Best Picture:
Brooklyn
Room
If the nominees were still restricted to five, I believe that the nominated films would be Bridge of Spies (based on real events), Brooklyn (literary adaptation), The Revenant (literary adaptation, based on real events), Spotlight (based on real events) and either Room (literary adaptation) or The Big Short (literary adaptation, based on real events). In addition, all of them are concerned with ideas of “America,” a common theme of Best Picture winners from Wings (1928) to Patton (1970) to Unforgiven (1992). The six films here are concerned with, respectively, the Cold War, the immigrant experience, frontierism, church and community, family, financial disaster. All of the key nominees present aspects of America in relief and highlight them to the world. Cinema has long been an important form of US propaganda, so it is unsurprising that the Academy reward films that effectively advertise the USA. And if the advertisements are about less than savoury events, like Spotlight and The Big Short, this shows a degree of self-reflection and introspection somewhat lacking in US foreign policy and election campaigning.
Two of the nominees are, however, anomalous: The Martian and Mad Max: Fury Road. I saw both films and enjoyed them very much, but to see them nominated for Best Picture is actually staggering. Both are science fiction films (space travel, post-apocalyptic), which makes them part of a very rare group. The only other sci-fi films to be nominated for Best Picture are Star Wars (1977), Avatar (2009), Inception (2010) and Gravity (2013), so to have two such films nominated in one year is quite extraordinary. Furthermore, Mad Max: Fury Road is an action movie and a sequel, only the fifth to ever be nominated after The Godfather Parts II and III, and The Lord of the Rings: The Two Towers and The Return of the King. So for the first time, a sci-fi sequel is up for Best Picture! This is actually radical and groundbreaking for the Academy, and perhaps signals a possible shift in its members’ typically conservative tastes.
Dawn of the Planet of the Apes
Dawn of the Planet of the Apes is a superb film. It is intelligently written by Mark Bomback, Rick Jaffa and Amanda Silver, skilfully directed by Matt Reeves (who effectively uses several of the techniques that worked to great effect in Cloverfield and Let Me In), well acted by a talented cast, beautifully shot by Michael Seresin and features truly astonishing visual effects by Weta Digital. The best compliment that can be offered to the effects is that they do not look like effects – at various moments one could swear there was actually a chimpanzee or orang-utan on screen or, at the very least, a performer in a physical suit rather a digital one. And what performers: Andy Serkis rises above Gollum, Kong and his previous performance as Caesar to deliver an astounding portrayal of familial devotion, loyalty, power and violence.
These themes are also central to The Godfather saga, which DOTPOA echoes in its exploration of family tensions and seemingly inevitable violence. We see two communities in conflict, with aggressive survivalists on either side: Dreyfus (Gary Oldman) among the humans and Koba (Toby Kebbell) among the apes, both of whom see only danger in the Other. Equally, there are diplomats who want the two communities to co-exist: Malcolm (Jason Clarke) for the humans and Caesar for the apes. These protagonists are all devoted to their families, Caesar and Malcolm fiercely protective of their respective mates and offspring. Similarly, Caesar, Koba and Dreyfus all give impassioned speeches to unite and motivate their communities. Great loyalty exists (initially) between Caesar and Koba as well as their fellow founders Maurice (Karin Konoval) and Rocket (Terry Notary), as it does between Dreyfus and Malcolm. But each side vies for power in the post-simian flu world of the film, their pursuits fuelled by fear and hatred of the Other, and the film effectively explores the tensions and violence bred by this fear.
The detail of the physical and digital mise-en-scene (supported by on-location performance capture) effectively creates a difficult world to survive in, and this makes the suspicion of the apes and the desperation of the humans palatable. As a result, we are drawn into the escalating tensions until they erupt with terrifying violence. Rather than being a welcome release however, the battle sequences are presented as tragic. Once again, this is reminiscent of The Godfather, which features the steady damnation of Michael Corleone as he gives terrible orders. In DOTPOTA, we see the decline and eventual destruction of two civilised societies, a tragic loss of peace and harmony that the apes had and the humans could have had. Strikingly, the apes become more aggressive and destructive as they become more like humans, increasingly speaking with words rather than sign language and using technology (mainly guns and fire). The swift collapse of the two societies is unmitigated Elizabethan tragedy, DOTPOTA resonating as much with King Lear or Hamlet as previous entries in the POTA franchise as well as other post-apocalyptic dramas such as The Road (John Hillcoat, 2009) and The Book of Eli (the Hughes Brothers, 2010) (which also featured Gary Oldman). It is the grimmest of blockbusters, beginning with the collapse of human civilisation in its startling opening animation, and ending with the first skirmish in (presumably) the War of the Planet of the Apes.
Action Has Fallen
Olympus Has Fallen was a better experience than I anticipated. Antoine Fuqua’s film received mediocre reviews so I was not prepared to pay for it; fortunately I got a free ticket and it turned out to be good fun. As is often the case, low expectations led to a pleasant surprise as the film is far from awful. It is no masterpiece and has plenty of problems, but it is an entertaining piece of action cinema.
I would summarise this film as the missing link between Die Hard (John McTiernan, 1988) and Air Force One (Wolfgang Peterson, 1996). As in Air Force One, the President of the United States and senior members of his cabinet are taken prisoner by VERY EVIL terrorists. As in Die Hard, only one man stands between the VERY EVIL terrorists and even greater disaster. Air Force One had the conceit of this man being the President himself; in Olympus Has Fallen, the lone hero is Secret Service Agent Mike Banning (Gerard Butler), while President Benjamin Asher (Aaron Eckhart) must the inflictions of Korean supremacist, Kang (Rick Yune). None of this is a spoiler as it’s all in the trailer.
Olympus Has Fallen is very much Die Hard in the White House, due to its confined setting and internal/external conflict. Banning used to be on the President’s security detail, but was removed when he saved President Asher but allowed the First Lady (a momentary Ashley Judd) to die – saving Asher is Banning’s redemption as well as his duty. Further parallels appear as Banning moves through crawlspaces in the walls, has to contend with a helicopter attack mounted by his supposed allies outside, the VERY EVIL (I’ll stop now) terrorists’ heavy artillery, some interchanges with Kang that (poorly) echo Bruce Willis and Alan Rickman’s banter in Die Hard, and even a moment when he encounters an enemy who pretends to be an ally. If the last two Die Hard films hadn’t been larger scale it would be easy to see John McClane in Banning’s position. This does appear to be the premise in 2013’s other film about the White House going down, entitled, imaginatively enough, White House Down. In Roland Emmerich’s film, Channing Tatum is a Capitol policeman touring the White House when it is taken over by terrorists and only he can save President Jamie Foxx. Perhaps it’s best that Willis never got there, there’d be nothing left for Tatum and Butler.
Not that Banning is simply McClane with a vaguely Scottish accent and a quarter of the wit (like Fuqua’s previous efforts Training Day, King Arthur, Shooter and Brooklyn’s Finest, Olympus Has Fallen is very serious). Part of Banning’s arsenal is his familiarity with the White House and its security, so the required suspension of disbelief is not as big as it could be. It is still pretty big though, as the terrorists (who know everything) target a secret nuclear strategy to unleash hell on earth; the Pentagon action committee (headed by a rather wasted Morgan Freeman) make every wrong decision except to occasionally trust Banning; a heavily armed plane opens fire on Washington, gunning down the jets sent after it as well as dozens of civilians on the ground.
I enjoy action movies very much, and indeed rate Die Hard as one of my favourite films of all time. There is a thrill in the spectacle of blazing guns that only just miss our hero, and generic conventions give us confidence that he will save the day. Despite this confidence, action cinema only works if there is tension and suspense. We may be confident that the hero will survive, but how? When Banning needs to get Connor Asher (Finley Jacobsen) away from the terrorists, will he wait them out or fight his way through them? How many of the hostages are expendable, and how many are necessary for Banning’s redemption? There are also stylistic considerations. As I argued in relation to Safe House, constant shaky-cam completely undercuts any tension. Fuqua favours steady cinematography; pans, whips, and tracking shots propel the action, while close-ups and fast editing convey the danger. Suspense like this invests the viewer in the action, which is heightened whenever a significant character dies.
How people die though is interesting. Many of the deaths in Olympus Has Fallen are very bloody, as civilians as well as numerous Secret Service agents are gunned down, many of whom we have got to know a little. Indeed, during the assault Banning is left alone as his friends die around him, and close-ups on his face allow us access to his grief. There are scenes of pain and suffering, as we see blood-stained bodies and several victims dying in agony. Kang obtains vital information from his hostages through torture, including a very ugly scene in which he punches and kicks Secretary of Defence Ruth McMillan (Melissa Leo), whose injuries and agonised screams of defiance are palpable. The physical emphasis of Olympus Has Fallen begins in the opening scene with Asher and Banning boxing, and many of the interpersonal clashes are brutal, not least the final, largely unarmed, fight between Banning and Kang.
This emphasis on physical action with associated embodied pain and suffering seems less common than it used to be. Historically, when movie characters were shot they coiled into a ball with a pained expression and then collapsed. Under the Hays Code, this was an acceptably sanitised way to present death on screen. With the withdrawal of the code and introduction of the MPAA rating system, New Hollywood saw more explicitly violent movies gain prominence, such as Bonnie and Clyde, The Wild Bunch, The French Connection, Dirty Harry, The Godfather and Taxi Driver. These were not action movies per se, more westerns and crime films, but their success demonstrated the audience’s appetite for destruction.
The model for modern action films was fine-tuned during the 1980s, with the high concept approach favoured by producers like Jerry Bruckheimer and Don Simpson. Directors like Tony Scott and James Cameron as well as actors such as Arnold Schwarzenegger and Bruce Willis became household names as a result of various loud, flashy, high concept action movies which could earn revenue through ticket sales, video rentals and, perhaps most importantly, merchandising. Many of the action films from this era were very violent, such as The Terminator, Commando, Predator, Lethal Weapon, Tango & Cash, Cobra, Nico and Hard To Kill as well as, of course, Die Hard. I knew these were violent because I saw them in video rental shops in the 90s and they all carried 18 certificates. In the US they were R, but the more stringent BBFC would have no thirteen or fourteen year-olds seeing such things (my first 18 certificate at the cinema was Se7en, and I was sixteen at the time).
Many of the prominent action films of the 90s, such as Terminator 2: Judgment Day, True Lies, Speed, Die Hard with a Vengeance and The Matrix, only warranted a 15 in the UK (although there were exceptions, such as Face/Off). Stronger stuff was needed to qualify for an 18 certificate, which was largely the province of gangster films, such as Casino, The Usual Suspects, L.A. Confidential, and in the 21st century other titles including The Departed, Training Day and Drive, as well as horror films like Saw and the torture porn cycle. Action films were largely embraced by the 12A category, especially with the growth of the superhero genre. The X-Men, Spider-Man, Avengers, Dark Knight and Hellboy franchises largely received 12A certificates, as did other blockbusters including Transformers, Inception, Avatar and Oblivion, not to mention contemporary-set action films like the Jason Bourne and Mission: Impossible franchises, and the seemingly unstoppable James Bond.
I was keen to see Olympus Has Fallen because it was awarded a 15 certificate, which seemed unusual for a film like this. Why would it be unusual, I thought? Is this level of violence and profanity that rare? Reflecting on the last decade of Hollywood action cinema, I realised it was, since the introduction of the 12A certificate in the UK. Recently, A Good Day to Die Hard was submitted to the BBFC and awarded a 15 certificate. The studio recut the film and resubmitted it in order to receive a 12A certificate, which increased the size of its audience. The same happened in 2012 with The Hunger Games as well as Taken 2. As a result, in recent years there has been a dearth of a certain kind of macho action film. In order to reach a wider audience, films are distributed with little explicit violence or strong language and minimal sexual content.
What is striking about these films is that, while they feature plenty of action, the emphasis is more often on the spectacle of scale than of death. Characters certainly die, but our attention is quickly drawn to something larger, often a digital creation such as a giant robot or an alien creature. We marvel instead of recoil, the action aesthetic has moved in the direction of “Wow” rather than “Ow”.
This change of direction has marginalised the macho action movie, where MEN are manly in their swearing, shooting and fighting. Nostalgia for 80s-style action has fuelled The Expendables franchise, as well as Sylvester Stallone’s return to Rambo and Schwarzenegger’s The Last Stand. These films emphasise guns and bodies, rather than technological spectacle, and seem quaint and curiously niche.
Olympus Has Fallen emphasises physicality, yet much of the action is digital, especially the aerial assaults both by the terrorists and the Navy SEALs who attempt to retake the White House. This is clearly practical – create a completely digital Washington and you can have as much destruction as you like without having to pay or wait for the disruptions you cause in the city. Yet this sits uneasily with the emphasis on down-and-dirty physicality. In an interview with the BBC, Butler commented that he was left very sore after filming the climactic fight scene, which seems at odds with the CGI sequences.
Olympus Has Fallen falls into a peculiar niche of action films for non-family audiences. Action cinema has moved away from the graphic spectacle of pain, as this restricts audiences. That said, there is clearly still a market for harder action, which need not be serviced by Hollywood – the most intense action film in years was 2012’s The Raid from Indonesia. The Raid is a little different for being a martial arts film, where the emphasis is still very much on physicality and digital sequences are less frequent. For Hollywood action movies like Olympus Has Fallen (and perhaps White House Down), there remains a tension between the grit of physical action and the wonder of digital animation.